08 April 2017
Check out the day two Cementa17 photos.
05 April 2017
When researching for this project I was struck by the lack of acknowledgement of the First Nations People of New York. This work was a step into a medium I have not explored i.e street art in the forms of stencils and as a follow up paste ups. The design was a fusion of an Aboriginal Australian protest slogan – Always was, Always will be Aboriginal Land and the Native American Medicine Wheel – with the colours of red, yellow and black which hold significance for both First Nations peoples. This work was an attempt to bring to peoples consciousness the presence of First Nations people in New York city and their connection to their land.
01 April 2017
Sophie’s Circles is also intended to create a continuity with and acknowledgement of the artists working a century ago to develop artforms and art practices that could contribute to the revaluation of place (though they may have used different language), well before the disasterous consequences of this devaluation in climate change was generally acknowledged. It also experiments with ways of including the relationship with actual space that is such an important part of their work by preventing its actual space (the ‘space’ of Spaceland) from being subsumed into the virtual space of photographic documentation (our own variation of Lineland).
30 March 2017
Untitled (Dissent/Descent) is about the atrophy of Western-style Democracy and the consequent erosion of civil rights that were once hard-won through sustained protest and activist movements. Protest today - while still offering fleeting but powerful feelings of solidarity - seems to be a flaccid, theatrical tool that can no longer generate lasting, positive social change. Governments cannot be shamed into action anymore; acts of hope are easily subverted and used as weapons in the fight to consolidate power, wealth and privilege. This is not to say there aren’t alternatives; just that the change is now enacted somewhat invisibly by small communities instead.
27 March 2017
We are dancing together to create a performance, Whispers in the Grass, a story of dispossession, grief and survival. Dance speech poetry and song are the archives of oral cultures and we are building our own archive of feeling. It is one of many stories of the Scots diaspora to Australia in the 19th century and it follows a local story, the story of how local farmer George McDonald’s forebears came from famine in Skye in 1852, to the Capertee Valley.
17 March 2017
Every day, comments are made to women which shape their identity, behaviours, social groups and self worth. Most of these are said with such frequency that we hardly acknowledge them. The phrases run the gamut, addressing behaviour and appearance along with directing our aspirations and goals.
28 February 2017
10 STEPS TO MOMA is an instructional work resulting in a moving image work that aims to test the notion of ‘publicness’ of a public places and our engagement with the architecture of institutions.
26 February 2017
Correspondence of Imaginary Places presents ‘Data Centre Séance’, a collaborative psychogeographic focus on an austere data centre in Manhattan known as ‘33 Thomas Street’ and the ‘Long Lines Building’.
23 February 2017
This year, Cementa is going international! We thought about cherry picking all the hot artists from across the international art circuit and parachuting them in to Kandos as an exercise in conspicuous consumption and arbitrary art world pandering, but decided instead that we would prefer to quietly engage with a grass roots arts community, not unlike our own that exists somewhere else in the world.
06 February 2017
After 2 years of preparation, with over 40 artist residencies under our belt and a number of initiatives in full development, we once again return to activate our beautiful little town with 4 days and nights of performance, sound, cabaret, interactive and electronic arts, video, installation and ceramics presented in more than 20 venues across Kandos and its surrounds.
30 January 2017
I stayed at Ann Finegans’ Kandos Projects, a converted general store in the main street of Kandos a small town with an uncertain future that has become something of a artists haven with cheap unoccupied buildings available in a state where housing has become unaffordable particularly for low income artists.